Esraj

RESONANCE MUSIC

Esraj known as the ‘voice of the sikhs’

DR M Lalitha and M Nandini

MARCH 01, 2018

The Esraj, a bowed stringed instrument, is rarely played today

On a tour of Germany, we presented a concert for the UNESCO Chairs and for the festival of music there, where we witnessed a German lady performing on the Esraj, an Indian instrument. Her playing was so fascinating that we decided to write about the instrument.

The Esraj belongs to the category of the Chordophones and is a bowed stringed instrument, which is usually played in the East and central regions of India, particularly in Bengal, Bihar, Orissa, Assam, Tripura and also Bangladesh.

In Bihar and Bengal, it is learnt, that the Esraj became popular about a hundred or two hundred years ago. This instrument, which had become almost extinct during the 1980s, was revived and used in Gurmat Sangeet. Known as the ‘Voice of the Sikhs’, it is learnt, that the Esraj was made and promoted by a sect of Sikhism - the Namdaris.

The Esraj is generally used as an accompanying instrument (as in Rabindra Sangeet). It is also mostly performed as a solo instrument in Hindustani music mainly in the Vishnupur tradition.

Having a strong semblance, with slight difference in structure, to the Dilruba, the Esraj was originally an instrument of Afghanistan and was said to have made its appearance in North India during the Pashtun rule. It is learnt, that both these instruments emerged, combining the features of Sarangi and Sitar, due to needs of the society during that period.

Apart from the Sarangi, there were no other bowed instruments on the classical music scene during the 19th century. Moreover, the Sarangi was a difficult instrument to play and to master, while the frets on Dilruba and Esraj made it a bit easier to play them. The Sarangi was also associated with artistes, who belonged to a lower social status and was used to accompany dancing girls/ coutesans/ tawaifs.

The Esraj is divided into two parts, the Dand or the fingerboard and the Pyala (sound box) that is round or oval-shaped. This is cut from the sides to facilitate bowing. The segment where the two parts are connected is called as the Gulu, which is an important joint that has to be fixed carefully. The fingerboard is long having around 17 - 20 frets made from metal resembling the Sitar. These frets are movable like that of the Sitar and can be shifted up and down as and when needed.

The wood that is used for making the structure is the Tun or Sagwan. The solid wooden body is covered with leather made from Goat’s skin that acts as a resonance cover. To the middle of this parched goats skin, known as the Chamara, is fixed a horn bridge known as the Ghurach, to which are fixed the playing strings that are four in number. The bridge is thin, similar to that of the Sarangi. There are grooves made on the bridge on which the main strings rest. These strings are attached to the main pegs at the top of the instrument. There are sympathetic strings (12-15 in number) that go through the holes drilled in the bridge. They are usually made of metal or partly steel and partly bronze.

To the side of the fingerboard is added an extra wooden strip for the tuning pegs of the sympathetic strings. In order to provide extra support to the leather that is under the bridge, there is an extra strap of leather that is fixed securely under the bridge and pinned on the corners of the sound box.

For stability and r tone enrichment there is a gourd that is sometimes fixed to the top of the instrument. The Esraj is played with a bow called Gaz.

Sound is produced with the help of the left hand fingertips similar to the sitar. The forefinger and middle fingers of the left hand are used to slide upon the strings and frets longitudinally. The strings are never pulled like sitar. Techniques similar to the Sitar and Sarangi could be used on this instrument.

The instrument is placed either on the lap or on the floor in front of the player while the fingerboard rests on the left shoulder of the performer. The instrument can also be rested between the knees of a kneeling performer. It is played upright like a cello with a bow. The bow has the stick portion made of wood, and resembles the bow of the violin.

Currently, the instrument, although not extinct, has become rare.

http://www.thehindu.com/entertainment/music/it-has-features-of-sarangi-and-sitar/article22893285.ece

KAMAICHA

RESONANCE MUSIC

Why Manganiyars love the Kamaicha

M. Lalitha and M. NandiniFEBRUARY 15, 2018

The instrument lends vibrancy to their music

We were once at IIT Jodhpur for the International Workshop on Art, Culture and Heritage to present a paper on ‘Synthesizing Creative Spaces - From the Aesthetic to the Scientific’. During that time, we were taken on a tour of the city and visited the Mandore Fort, Mandore gardens that houses the government museum, the Hall of Heroes, and the temple of 33 crore gods, apart from the Ravan temple (in Mandore) — believed to be the birth place of Mandodari, the queen consort of King Ravana. At the fort, we were welcomed by the Manganiyars, who are Rajasthani folk musicians.

The bowed instrument they played is called Kamaicha that is synonymous with the Manganiyar community. Heard more in the Jaisalmer-Barmer region, it accompanies solo or group performances of singing and dancing. By playing the open strings, the instrument can also produce a drone effect. Sometimes during solo performances, the Kamaicha artiste sings and plays the instrument.

Songs for occasions

During a song, the interludes are performed on the Kamaicha. The Manganiyars sing and play songs for specific occasions such as weddings or births, apart from accompanying stories of renowned heroes and lovers. These folk melodies have been passed on from generation to generation. Devotional songs and Sufi music are also part of their repertoire now.

Though the Manganiars are Muslim musicians by birth, yet their lifestyle reflects the Hindu culture. They celebrate Hindu festivals such as Diwali and Holi. Many of the songs they render are in praise of the various Hindu deities.

The old records state that the Manganiyars are also referred to as the Merasi. Apparently, the Merasis played the Kamaicha to entertain the royals for many generations and were musicians at the Rajput courts.

Kamaicha belongs to the category of the chorodophones. Its body is carved from a single piece of wood belonging to a seasoned mango tree. The basic structure is first carved out by the master craftsman.

The round, big belly is the resonator, spherical in shape. It produces a warm tone and is covered with goat skin. This extends to the neck and the fingerboard. An ivory strip is fixed over the wood of the neck to protect it from getting worn out due to the sliding of the left hand fingers. In the fingerboard, which is fretless, are embedded pearl studs in the shape of flowers as an embellishment.

Kamaicha consists of 17 strings, of which three are the main ones. They are prepared from the goat's intestine called Roda and Joda. The other 14 strings are called Jhara, out of which five are made of copper while the rest are made of steel wire. The main strings are thicker compared to the sympathetic strings. These strings pass over a thin bridge, which is long and made from the sheesham wood. The strings are tied to the pegs. The sympathetic strings are placed along with the main ones. The performer produces the rhythmic effects on these strings. The pitch of the string is sometimes changed by rubbing the finger nails against the string. Occasionally the strings are pulled too. Three fingers of the left hand - the index, middle and the ring fingers - play the notes and the finger nails are used for sliding.

The stick portion of the bow is made from the Khejari wood and the hair from the tail of the horse. The bow is concave in shape. The thumb, index and the middle fingers of the right hand hold the stick portion of the bow while the ring finger goes inside the stick. Mainly, the long bows are used to perform than the short bow strokes. The instrument is kept upright and played.

Kamaicha plays a crucial role in the vibrant music of the Manganiyars.

The writers are well-known Carnatic musicians of Chennai

http://www.thehindu.com/entertainment/music/why-manganiyars-love-the-kamaicha/article22761362.ece

Gowrikalam

RESONANCE HISTORY & CULTURE

A musical instrument that heralds festivals

M. Lalitha and M. NandiniJANUARY 25, 2018

The Gowri kalam or kalai is blown to announce auspicious occasions

One of our favourite destinations is the temple town of Kanchipuram. On one of our visits,, we witnessed the pujas being performed at the Kanchi Math. Our attention was caught by the silver-coloured musical instrument called Gowri Kalam.

It belongs to the category of aerophones or wind instruments, which are further classified into Woodwind and Brass (the classification is not based on the materials that they are made of). Brass instruments are often made of silver, horn, ivory, copper and even wood. Gowri kalam comes under the sub category of Brass instruments.

It resembles a trumpet and is a long, straight, conical instrument made of silver. Certain blown instruments produce melody, while some of them are blown just to announce a particular event and gowri kalam belongs to the latter variety.

For religious ceremonies

The instrument is divided into 2 parts of 3 feet each joined together, thus becoming 6 feet. The upper portion is known as the ‘mel pakkam’ while the lower is called ‘keezh pakkam’. Sometimes this instrument is also made of brass or copper. There is a disc-shaped bell and an integrated mouth piece. Gowri kalam is mainly used in temple processions and religious ceremonies.

This instrument is special to the Kanchi Kamakoti Math, where this is blown in the Math during Deeparadani which is done for the 3 kalams. Many instruments join the periyavas when they go out on camps to various places and gowri kalam is one among them. It is blown (as an alert) whenever he goes out and comes back to the Math and is locally known as an ‘echarikai vadyam.’ The sound can be heard for about 3 km.

In Kanchi Varadar temple, which is one of the most significant holy places for the Vaishnavas, this instrument is referred to as the gowri kalai.

At the Varadar temple, this instrument is of silver and is around 4 and a half to 5 feet long. It is blown by two performers during main utsavams such as Sattrumurai for Manavalamamuni, Desigar, Udayavar or Ramanuja and Perialwar.

Aani Swathi Periazhwar’s Tirunakshatram is celebrated with grandeur at Kanchi Varadaraja Perumal koil. Gowri kalai is played before the purappadu of Lord Varadaraja, who will be on garuda vahanam, and during the procession.

During Chitirai Tiruvadirai for Udayavar sattrumurai, gowri kalam is blown for Madiyadai for Udayavar in the evenings. It is blown when Jeeyar comes and also when he receives the satari.

The writers are well known Carnatic musicians

http://www.thehindu.com/society/history-and-culture/a-musical-instrument-to-herald-festivals/article22520784.ece

Dhad

RESONANCE MUSIC

Waisted drum of Punjab

M. Lalitha and M. NandiniJANUARY 04, 2018

http://www.thehindu.com/entertainment/music/tracing-the-roots-of-dhad-in-punjab/article22366783.ece

The dhad is linked to the Sikh bardic tradition

We were in Delhi for a concert and decided to visit a friend in Mohali, Punjab. Apart from the routine sightseeing, we listened to some amazing singers, who were playing a small drum, called dhad. Shaped like an hour-glass (also called waisted drum), this percussion instrument is unique to Punjab and accompanies Sikh music.

The group of singers who play the drum are known as Dhadis. They sing folk and traditional songs about valiant soldiers and heroes, drawn from religious and romantic tales, the deeds of Sikh gurus and tales of the Sikh tradition.

Change in the repertoire

Guru Hargobind is said to have brought about a change in the Dhadis’ repertoire from singing the praise of rulers to that of god. He made the Dhadis sing the Gurbani from Guru Granth Sahib (which are the hymns written by the Sikh Gurus). The group of Dhadis (also known as Dhadi Jatha) usually consists of one Sarangi performer, two dhad players and one narrator of the story. They sing together and individually.

The dhad also accompanies Bangra performances and fairytale songs for children.

A small percussion instrument, it belongs to the category of the avanaddha vadyas or membranophones. Having a low bass and mellow tone, its body is made of wood from the mango tree, mulberry or ‘sheesham.’ Its two heads are covered with goat skin and are tightened with ropes. This enables the instrument to be held tightly. It is held in one hand and struck on both sides. The pitch can be modified by tightening the cloth that is draped around its waist. The tautness of the skin can be controlled by the performer with one hand to manipulate the sound as he plays it with the other. Closed and open sounds can be produced. The tone is decided by the tightness of the cord.

Hour-glass shaped drums are found in many global music traditions though its construction, usage or playing technique may differ. The instruments that fall into this category include the udukkai (Tamil Nadu), the Indian Damaru, Dhad (Punjab), Idakka (Kerala), Urumi (heard in the folk music of Tamil Nadu), Talking Drum (Africa), Janggu (Korean), Jiegu (used in ancient China during the Tang Dynasty), the Japanese Kakko (used in Taiko ensembles) and Gagaku (used in Japanese court music), the Tsuzumi (heard in the Japanese theatrical form Noh, Kabuki and in folk music minyo). Ōtsuzumi (also played in traditional Japanese theatre and folk music) and Yoruban Bata drum (of Nigeria is played during religious functions).

The Udukkai and Dhad have similar playing techniques yet differ in their social significance.

Unlike the Dhad, both sides of the Damaru have cords that are knotted and this hand-held drum is played by moving the hand fast in a semi-circular motion so that the knotted cords strike the heads. The dhad is also adorned with tassels and bells. The Udukkai is usually connected with the Mariamman temples, the Damaru with the Saivite tradition, the Idakka with the Kerala temples and the Dhad with Sikh bardic tradition.

The writers are well-known Carnatic musicians

Khol

RESONANCE MUSIC

Soul of kirtans

Dr. M. Lalitha and M. Nandini

NOVEMBER 30, 2017

The khol drum, popular in north-east, is an integral part of bhakti and folk music

We were at the International Society for Krishna Consciousness temple in Thiruvanmiyur, Chennai, where we witnessed the Khol being played during the puja. Khol is usually used as an accompaniment for bhajans, kirtans, light classical songs and folk music.

Khol, which means ‘open sound’, is commonly seen in Assam, Manipur, Odisha, West Bengal and Bangladesh. Khol is also known as mridang and belongs to the category of avanaddha vadyas/percussion instruments where the resonating body known as the ‘anga’ is made of clay or terracotta. Fiberglass and brass have also been used to make this instrument.

The structure

The head portion of thekhol known as khol puri includes the gajra, kinar, maidan and syahi. The gajra is the outermost rim, where the tuning straps (tasma), 32 on each side, are woven. According to the Gaudiya Vaishnavas, the 64 straps are believed to represent the Lord.

The kinar or the rim is the next layer. The section between the kinar and the syahi, an open layer is called the maidan. The black circle in the middle of the puri is the syahi, which is made of clay, rice pudding, iron fillings, wheat and an unknown vegetable extract that is also referred to as the ank or gab. Of the two heads, the smaller one is known as the dayan, while the bigger one is referred to as the bayan, meaning right and left. Due to the application of a special paste, the right side gives a high, sharp sound and the left bass sound. The skin between kinar and gab is rubbed with a moist cotton cloth when the bass side is too taut. Khols of higher quality generally use red-coloured syahis on both heads.

There are three positions in which the khol is played. One in which the the performer sits down and the drum is placed on a cushion in front of the performer, in the other, the performer sits on the floor with the khol on the lap while the third is the standing posture. The khol is played with both the hands. The drumming technique is similar to tabla but the bols are different such as ta, deta, dhoia, jhan, ghini, tit, tini, naka and guru.

Other materials such as fiberglass and brass have also been used to make this instrument. The ISKCON devotees believe that khol came along with Lord Chaitanya Mahaprabhu around the mid-1400.

Legend says that Radha, Vishakha and Tungavidya played khol at rasa lila. Gaudiya Vaishnavites believe that the khol is the avatar of Lord Krishna’s flute. A reason why it is worshipped in some Vaishnavite temples in Bengal. The drummer chants mantras to the khol before every kirtan performance.Kirtan is popular in Bengal. There are many kinds of kirtan such as Pala Kirtan, Syama Sangit, Nama Kirtan and Lila Kirtan. The most ancient in Bengal being the Pala Kirtan. Usually performed with khol and jhal as the main accompaniments, Syama Sangit is the kirtan performed by the the worshippers of Sakti. Namasankirtan is the recitation of the names gods.

Khol is the main accompanying instrument for bhajan and kirtan at ISKCON and in Gaudiya Vaishnava societies. The Bengali kirtans by medieval poets such as Gyanadas Chandidas and Govindadasa were performed with khol. The instrument also accompanies the Gaudiya Nritya.

Khol is an intergral part of the Assamese Vaishnavite culture and are used in bhaona, gayan-bayan, prasanga-kirtan, borgeet, apart from folk music such as deh-bisar geet, thiyo-naam and borage geet. Saint-scholar Sankaradeva adapted and evolved gayan-bayan by using musical instruments khol and tal. According to Assamese Vaishavites, playing khol is regarded as a holy activity and it is also considered to be one of the most important traditional percussion instruments.

The writers are eminent violinists

http://www.thehindu.com/entertainment/music/on-the-khol-trail/article21212672.ece

TAKKAI

RESONANCE MUSIC

Linked to Ramayana

Dr. M. Lalitha and M. Nandini

NOVEMBER 02, 2017

A 17th century version of the epic is named after the Takkai

Coimbatore (Kovai) is a favourite place since it is close to Anaikatti, where we used to visit Sri Dayananda Saraswati at his serene ashram.

Once during a visit to Kongu Nadu, we heard the Takkai Pattu, where stories from the Puranas were sung to the rhythm of the takkai.

The Takkai Ramayanam composed by Emperuman Kaviraayar around 1600 AD was so named because the Ramayana was rendered to the accompaniment of the instrument. In fact the verses are set to the pace of takkai.

Emperuman Kaviraayar composed 3250 songs divided into 6 Kandas. This work is classified under the folk songs that is sung to the rhythm of takkai, which is performed at night in the villages. There was also a custom of reciting the Takkai Ramayanam in the Kalakshepa style. From ancient times, the takkai has been performed at all auspicious functions in Kongu Nadu. It was popular in the region till the end of the 17th century.

Udukkai family

Takkai, also referred to as Tala Isai Karuvi, is an Avanaddha vadya, a membranophone with two faces that comes under the family of Udukkai. It is a bit larger than Udukkai but smaller than Davandai.

Another difference is that the Udukkai is played with the right hand, whereas the takkai is played with a bamboo stick. There are 7 to 11 holes and there are leather straps or rope that is used to join the two faces that are covered with leather. This instrument is about 1 foot long. The pitch of the instrument may be altered by squeezing the rope, which is tied in the narrow middle of the instrument that is held by the left hand of the performer. Takkai could be made of wood or bronze.

It is played at the Srirangam temple during Pagal Pathu (day time for 10 days) and Ra Pathu (night for 10 days), which are celebrated in Margazhi.

Ranjitkumar, temple musician, at Srirangam says, “During Pagal Pathu when the Lord goes to Arjuna Mandapam, different nadais are played on the takkai according to the movement of the procession. Similarly, during Ra Pathu, when the procession moves to the Ayiram Kal Mandam.”

In Srirangam, the takkai has a special position in Araiyar Sevai during two festivals.

Dr. Rama Kausalya, says, “During the Kausika Ekadesi the Arayars perform Tirunedunthandagam to the accompaniment of this instrument and again, during Vaikunta Ekadesi, when the Arayars recite Divya Prabhandam... It is a tradition to play a suddha maddalam, davalai and takkai alternately during the recitation of Prabhandams.”

It is learnt that in the old texts there is a mention of takkai as being one of the accompanying instruments of Villupattu. In Ilango Adigal’s Silapadikaram, there is a reference to the takkai under the category of Agappuramuzhavu along with Tannumai and Tagunicham.

Tirumurai too mentions the instrument as does Appar in his Tiruthandagam, Karaikal Ammaiyar in Tiruvalangadu Mootha Tirupadigam (included in the 11th Tirumani) and Arunagirinathar in the Tirupughazh.

It is also mentioned in Kanda Puranam, Tiruvilayadal Puranam and Kamba Ramayanam.

The writers are well-known Carnatic musicians

http://www.thehindu.com/entertainment/music/instrument-takkais-ramayana-connect/article19967888.ece

Mizhavu

RESONANCE MUSIC

Serpent as the storyteller

Dr. M. Lalitha and M. Nandini

Oct 12, 2017

Mizhavu is the main accompaniment for the Chakyar

Watching Chakyar Koothu at the Ernakulathappan Temple in Ernakulam was a treat. The major instruments that accompanied the performance of this traditional art form were mizhavu and ilatalam. The presiding deity here is Lord Siva, who is in Gaurisankara form. The Lingam in the sanctum sanctorum is swayambu (worshipped by Arjuna as Kirthamurty).

Chakyar Koothu is performed as a solo narrative act and the performer wears a distinct headgear resembling the snake’s hood to signify that the story is being told by Anantha, the thousand-headed serpent. Koothambalam is the place where it is performed.

After the mizhavu player performs Mizhavanakkal to announce the performance, the Chakyar recites the story based on ‘Champu Prabandha,’ which is a combination of prose and poetry.

While members of the Chakyar community are the traditional performers of this art form, the Ambalavasi Nambiars are the mizhavu players.

Mizhavu is said to be one of the largest percussion instruments belonging to this region. Apart from Chakyar Koothu, it is the main accompanying instrument in Koodiyattom and Nangiyar Koothu. References to Koodiyattom and Chakyar Koothu are found in ancient Sangam literature and also in the epigraphs belonging to the Pallava, Chera and Chola periods.

Mizhavu or mizhav is a large pot with its mouth tightly covered with hide. Earlier, it was made of clay, but now bronze or copper is used as these give it more resonance.

The shell of the instrument is made first after which the neck and the upper body are fixed as separate portions. A hole is made in the side of the body in order to get a proper tone. The principles of temple architecture and iconography are followed while making the mizhavu.

Upanayanam

Since it is considered a sacred instrument, the newly made ones are initiated into the world of music through a ritual called upanayanam along with the chanting of slokas. This is because Koodiyattam is considered Chakshush Yagnaand mizhavu is its main accompanying instrument.

The mizhuvu is kept on a peetam with kolam with grains and darbha grass spread over it. After praying to Lord Ganapati, consecration with holy water is done. Rituals like Nandi and Bhuta Visodhana are performed before invoking Lord Nandikeswara to come and reside in it.

The top of the mizhavu is covered with pattu vastram after which homa is performed followed by the performance of the eight samskara rituals. Then the instrument is adorned with the sacred thread. Puja is done, naivedya offered followed by arati. . After this ceremony, the main priest initiates the playing and the mizhavu artiste covers the mouth of the instrument with the skin and ties it tightly with cotton strings and then begins playing.

At the Mridanga Saileswari temple in Muzhakunnu, Kannur district there is the Mizhavu Bhagavathy — goddess in the shape of mizhavu.

The Ambalavasi Nambiar community perform inside the Koothambalams, a place inside Hindu temples specifically designed for these arts. Mizhavu is played only with hands; sticks are not used. The palm and fingers of both the hands are used for playing this instrument. The mizhavu artiste uses the full hand technique for drumming. The half metallic beats are typical of this instrument. In the past, different beats were played, but now only eight exist, including the Chempata, Atanta, Eka and Triputa.

Considered a deva vadyam meant only for religious performances, it is not put down on the ground and is kept in a cage of wooden slats.

Mizhavu has been traditionally played by male percussionists and the instrument is regarded as a Brahmacharya. For Koodiyattam, mizhavu, kuzhitalam, kurumkuzhal, edakka and sanku are the traditional accompanying instruments. The mizhavu complements the movements of the actor.

Today, there are no restrictions and anyone can play the instrument, which is also performed solo or is featured in the mizhavu thyaambaka, where it is played by a group of performers. It is also played along with Idakkya in the mizhavu melam.

The writers are well known Carnatic musicians

http://www.thehindu.com/entertainment/music/mizhavu-is-a-sacred-instrument-that-accompanies-chakyar-koothu-performances/article19845862.ece